#the more time goes by the more i entertain going exclusively by they/them

[olderthannetfic]

I have really mixed feelings about the small proportion of F/F fiction (original or fanfic), because yeah sure, people have their desires, they should write what they want, I get it. It all works out when I hear it from person to person. But somehow the logic only ever applies in one direction? "There are more male protagonists because men only care about male characters! Women also mostly care about male characters, because that's the majority of characters they get!" And then somehow we also yet kvetch when men write female characters (because it's incorrectly or something, nevermind if women are writing male characters correctly). Why don't we expect gay men to feel compelled only by femslash for the same reasons (but gender swapped) as the lesbian slashers/fujoshi? All of those very rational justifications are applied selectively, "for me for not for thee," and it all only leads to "idk I just don't wanna write femslash", for Reasons. Do we get to call them microaggressions yet?

--

No, you don't get to call other people's fantasy life a microaggression.

That is indeed "for me but not for thee" in the sense that you get to want what you want but other people aren't supposed to follow their id.

Do you also police gay men who spend too much time on drag and obsessing over female divas? That's an actual real world behavior that's somewhat equivalent. It frequently goes unchallenged, at least by progressives, because men are allowed to do whatever they want with chick stuff, while women are "stealing" if they dare to stray into dude stuff.

(God, I've seen so much more policing of drag kings being ~problematic~ for acting out stereotypical gender than policing of drag queens for the same. It's nuts!)

Fujoshi are often queer, but it's absurd to think we're mostly lesbians. We tend to be bi or asexual women with gender stuff going on, though there is a mix of everybody, including lesbians. There are also a lot of AFAB non-women who get lumped in with us. On the rare occasions I find a man willing to admit to being a similar demographic, he usually does like gender play in his hobbies and entertainment. It's just that men face even more pressure than women do to fit into tidy categories. Bi women get told we're whores. Bi men are told they don't exist.

Yes, I know plenty of lesbians who write more m/m than f/f, but in the big picture of all of AO3 or all of fanfic or all of media, they aren't the demographic driving these numbers. They're vastly outnumbered by the bi women, the asexual women, and the straight and gnc women.

The men we should be looking at as an equivalent aren't cis gay men but bicurious soy boys and the like.

Do most of us fujoshi object to equivalent men doing an equivalent thing? I've seen it sometimes, and I agree it's hypocritical. I'd like us to afford men the same ability to play and take on identities in their art. I remember enjoying Ranma fandom back in the day and reading quite a lot of f/f that was probably by men. It had some of that same sense of distance and fantasy that I so enjoy in m/m aimed at fujoshi. (I do consume some by-cis-gay, for-cis-gay content, both m/m and f/f, but it's often too literal and too bound up in specific named identities for my taste.)

On average, the people I see complaining most about men producing f/f material are the same people who think that because I have a clit, I should center my life around women exclusively. In other words, people spouting radfem ideology, perhaps on purpose or perhaps without realizing.

I do agree that some of the ways of expressing a lack of desire to write femslash can get pretty douchey. I want us to move away from some of the less accurate ones like "There are no compelling female characters" because of this.

But the reason for all these jerkass explanations is that women and people perceived as women who like m/m are constantly asked to explain ourselves. These aren't usually microaggressions: they're openly hostile. People get defensive and try to answer with important-sounding reasons about identity and pain because society at large won't accept "I like this" as the true explanation.

Pleasure is never enough of a reason for a woman to do something.

[slocumjoe]

I've said before that the synth thing would work better with a McCarthyism allegory, but for Danse specifically, its so similar to autism that it has to be intentional??

Like. The thing that really solidified that Danse in particular is just straight up about autism is Piper's line in Blind Betrayal. Paraphrased, it goes something like, "I mean...yeah, of course he's a synth. It was kind of obvious, wasn't it? I mean, have you heard him talk?"

The autism accent is a concept that seems to be popping up more recently, but its a real thing, and in my own experience, everyone in my life has been able to clock that there was something different about me from my speech. People thought it was weird that I used "adult" words as a kid, and was very technical and exact when speaking. I was often mistaken as being from places like Brooklyn because I had a weird affectation to my voice.

And there's just. This fucking line. "Have you heard him talk?". Piper is also the person who clicked McDonough as a synth. It's worth noting that McDonough and Danse both use words like "rabble".

But seriously.

Danse goes through his life being respected for his work ethic, intelligence, and strong sense of duty and morals, but he never really bonds with anyone, he doesn't make friends. He's respected, not liked. People want to work with him, but the best they have to say about him is about his work. He makes one single friend in his entire life, and never tries again after that guy dies. And no one tries to befriend him. He's their brother. He's not their friend. And he takes his job too seriously as a commanding officer to attempt emotional connection. He apologizes for overstepping on the few occasions he does.

He talks like a thesaurus, and no one is sure if its to sound smarter, or if that's just genuinely how he thinks. It's strongly implied to be the latter. He's incredibly knowledgeable and passionate about various topics. He sounds like a kid on Christmas when you risk life and limb cracking open a vault that's supposed to have riches, but instead, just has some historical items. He throws his Brotherhood prejudice away the moment he finds a farm run by ghouls that uses pre-war structures in a creative way, and scolds you if you do the Brotherhood thing and insult them. He also seemingly forgets that he's in the Brotherhood when meeting a child ghoul, that kid's parents, a shy, insecure ghoul who clings to children's media (despite Danse finding children's entertainment stupid and a waste of time), and Daisy.

And then there's the synth thing.

Danse has always been Danse, but one little word gets attached to him and his life turns upside down. His work ethic is no longer a work ethic, it's viewed as a perversion. His intelligence and manner of speech are no longer of his own merit and education he had to have given himself, they become inevitable, things he had no say in. His existence is both erased and explained by one word, and anything else is irrelevant or in question. People who once respected him want nothing to do with him, because this one word puts him in a context they find unnatural, corrupted, inhuman. There's even something there with the Institute. Autism is (incorrectly) associated with vaccines, the government, science gone wrong. It's a man-made horror.

And then you have the people he gets lumped in with, after being thrown out for this one word. They take schadenfreude in it. This is comeuppance, this is deserved. This one word, something they take pride in or have sympathy for and want to protect, suddenly becomes weaponized. It's a source of pride for others, but for this one person, we're going to use it as punishment. You weren't with us from the start, so now you really are on your own. It's not that there isn't a right way to be this one word, it's just that there's a wrong way, and even if you change accordingly, you will never belong with the rest of us.

Its. Autism is about exclusion, from everyone and everything. Always being an outsider, often too polite or nervous or jaded to even bother looking in. And at every point in Danse's life he didn't belong. He was a rogue synth, so he didn't belong in the Institute. He naturally thrives as a soldier, so he didn't belong as a junk seller in Rivet City. He was a synth and considerably more kind and compassionate than the rest of the BOS, so he didn't belong there. And because he was a BOS soldier and is still working out some bad traits after his exile, he isn't welcomed by the people who he was thrown to. Everywhere he goes, there's a big neon sign over his head that changes to whatever word will ward off everyone around him and he's so used to it, the thing that makes him angriest about being a synth is that he doesn't even have parents. He doesn't even have that connection to the world, of being born into it. There is nothing he can connect himself to beyond the Institute (which he hates) and the Brotherhood (which, if he continues to connect himself to, will drive him to suicide out of sense of duty, and he already agreed to not do that)

Its just. His entire story is one of absolute isolation and the final dickpunch of "You've always hated yourself, right? Good news, here's a reason to kill yourself that's professional and won't illicit pity from your peers, so no one will judge you for doing it or grieve you."

[changbinsboobs]

tbh I noticed that a lot with several idols, one minute they could be severly desperate for relationship then in other readings someone hurt them or they just dont give a fuck about it. so my question is if skz members would be more into hook ups or temporary relationships or are there members who want something more long term and romantic? or as romantic as they can get with their schedules lmao

SKZ Long-term relationships or Flings?

Hi:) i hope you enjoy the reading💗 i used the 3rd Eye Tarot Deck

*For entertainment purposes only!

Chan - Temperance, 4 of Cups

With him i see that he wants to keep his own peace and not get into relationships, but he gets crushes easily, sometimes more than one at a time and that confuses him, causing him to lose his peace over that anyway so he thinks then "whats the harm in a little fun?" and then dips his toes here, then dips his toes there, most of the time i feel it doesn't go very buttery which again strengthens his conviction of having to keep his peace and keep away from distractions like that, but oh my are women distracting...especially when naked 👀

Lee Know - 6 of Swords

He seems very serious when it comes to relationships and his ultimate goal is marriage. He has left a lot of unserious people once he realizes they mean only fun and games and aren't ready for the real, serious stuff. He seeks this "the one" feeling and looks for that person and i believe gets into serious relationships only when he thinks he has a chance for that with that person.

Changbin - King of Cups

Short and clear - a one woman man! I don't think he even sees other women when he is in love. Mind you i didn't say relationship👀 i believe being in a relationship and being in love mean 2 different things for him as i think he might have tried (forced himself) into (short lived) relationships where he wasn't really in love but hoped to develop feelings over time because the match just seemed to make sense, or because friends and family nudged him into finding someone. But i don't think he's a supporter of that method and i think his experience has strengthened a conviction in him to only date and begin a relationship if he has a crush or feelings for the person already. If HE is the pursuer and not the pursued. So yeah i think he is kind of in a waiting period maybe, where he is very exclusively monogamous and also believes in "the one" or in soulmates and patiently waits for them to meet. Once that happens i believe he would be pretty quick to escalate the relationship. I see him with time getting eager to settle down with someone and he would probably make an offer to his person very quickly. An offer to get together, an offer to introduce her to his family and friends, an offer to move in together, an offer for marriage, an offer for kids etc.

He always gets so phylosophical in his readings💗 he has lots of strong opinions about many many things that i feel like he can't share very well with others cuz he just doesn't have much or any people around him he can talk that deeply about stuff with.

Hyunjin - 2 of Swords

He's a long term relationship guy but he can't make up his mind. Like he can't make up his mind if he should or should not get into a relationship, if he does or does not have real feelings for that person. If he likes this person more than the other. I feel like he might be between two or more people quite often and not be able to choose which one he actually likes because he is so quick to judge and react and i believe he holds a grudge too, so if he has interest in person A, but they disappoint him in some way (even with something small and insignificant) he starts doubting this persons genuinity and his feelings for them, and his interest gets sparked elsewhere - with person B. Then they disappoint him too and he's like "Person A was so much better, lemme try there again" and he goes back to Person A and it goes on and on like that. Poor guy wants love and commitment and seeks stability but he's so unstable himself he can't get that for himself, no matter what person stands in front of him.

Han - 9 of Swords, Judgement, 7 of Cups

Ehmm...i think he gets very intense and only has eyes for one person. Bit sadly very short lived. He fights that tho and wants to become more consistent but as much as his eyes are only focused on that specific person and see nothing else - his focus doesn't last that long and something new redirects him pretty quickly so i don't think he's someone to have serious long term relationships. He craves that tho. Maybe he has to grow up a bit and then he can focus on one person better.

Felix - Death, 2 of Cups

Almost the same for Felix. But with the difference that he doesn't go move on to another crush quickly. With is that he meets someone, has a great time with them, everything's nice - and then all of a sudden the spark dies. Even if he stays with them a little longer its not the same anymore so he gets bored and with his busy schedual i don't think he's in the mood for driving on something that doesn't excite him in any way. So i think he's kind of in the middle? He doesn't jump from person to person like chan or han, or even hyunjin, but he isn't very long-term oriented like changbin and lee know either.

Seungmin - Queen of Cups

That man's looking for a wife! Tbh i don't know what else to put to that😅 he says theres no need to overcomplicate it, its as simple as that - "i want a wife."

I.N - 6 of Pentacles, 6 of Cups

He likes investing and nurturing and building - all long term things. So i believe he is also long term relationship oriented, but im not really getting it as such a strong sense as the other members. Maybe he wants a long term relationship but not right now, and so he puts his (or invests) his energy and resources elsewhere, so later on he can properly focus on nurturing and building the relationship. Omg yes of course i get it. Thats what the investments abut. So right now he's investing in his future by building security in his finances etc. so that later on when he mets the right person and decides to build a life with them he can do that with a peace of mind and provide accordingly for his partner. Very lovely💗

[wifelinkmtg]

man i'm not gonna figure out which of these beatrix potter animals fuck

I'm predicting I will get less and less interested in reviewing new magic releases as time goes on, but 1) there's still a lot of older stuff I haven't even touched, and 2) you never know, maybe they'll do something to recapture my interest down the road, like bringing Kaja Foglio back, or taking any creative risks whatsoever. Or, you know, there's other games!

BY 2029 THIS BLOG WILL EXCLUSIVELY REVIEW THE MOST FUCKABLE ANDROID: NETRUNNER ICE

Meanwhile, original Theros block!

Kiora, the Crashing Wave (Scott M. Fischer)

I don't have that much interest in Kiora as a character but I cannot deny that this is a fine piece of pin-up art. Big Hokusai wave, pearlescent light off her thighs, the cheesecake pose, feet - and the gentle way her hand rests on that tentacle. The connection to the other Hokusai piece everyone knows is surely not accidentacle.

JACKIN OFF? BUDDY LET ME TELL YOU ABOUT KRAKEN OFF

Ashiok, Nightmare Weaver (Karla Ortiz)

There's so many good feet in Magic that you never get to see because Wizards crops them out of the final card, because they're cowards. I, however, am not. You're welcome.

Anyway yeah Ashiok's hot, we all know this already.

Forgeborn Oreads (Ryan Yee)

The starry infusion of Nyx here mixes with the fires of Purphoros to create a look I'm calling Julie Mao if the protomolecule had been red. It's a good look.

Spirit of the Labyrinth (Jason Chan)

Stupid little airhead can't even solve Mommy's brutalist maze, can she?

IS THIS NOT THE PLOT OF REMEDY ENTERTAINMENT'S HIT 2019 ACTION-ADVENTURE GAME CONTROL

Dunno, never played it! If anyone has, let me know if that joke was funny or not!

Reaper of the Wilds (Karl Kopinski)

I guess I do kind of want a woman who can turn me to stone and also crush my petrified ass into powder with her powerful feral serpent body.

Hythonia the Cruel (Chris Rahn)

Goddamn, did Elesh Norn really not have an original thought in her life? "Throne of petrified victims" makes so much more sense for a gorgon tyrant than a cyborg cult priestess, too. Anyway this ain't about her, this is about Hythonia turning me to stone and then sitting on me. Look how her snake-hair entwines her victims bodies. It would be like sleep paralysis, but sexy and forever!

Pharika, God of Affliction (Peter Mohrbacher)

O, for the limb-loosening fever, the delirium of the god-touched! O, for the venom-rite and the sharp ecstasy of the serpent-kiss! O, to be obliterated by a rolling wall of scale and snakeflesh! O O O for Pharika, She of bitter remedy and sweetest poison!

MAN JUST READ SWINBURNE ABOUT IT ALREADY

Ooh, yeah, good idea.

O lips full of lust and of laughter, Curled snakes that are fed from my breast, Bite hard, lest remembrance come after, And—

I WAS OBVIOUSLY KIDDING, DON'T DO THAT SHIT

Aspect of Gorgon (Willian Murai)

The flavor text for this one reads, "My adopted children are loved no less." —Pharika, God of Affliction, so in addition to being an extremely pretty woman with curly black hair-which-is-also-snakes (already a great start), there's a trans metaphor going on here. Which is to say, one can by the grace of Pharika transition to gorgon, and then presumably have a whole lot of T4T gorgon sex. And if I can do all that and also call Pharika "Mommy" then I do think I'm living my best life at that point.

PHARIKA ISN'T RUNNING A SEX CULT

Pharika isn't running a sex cult yet.

[chirpsythismorning]

Why I Don’t Experience Byler Doubt

It’s simple. One of the most essential techniques in storytelling: Show, don’t tell.

Show, don't tell is a technique that allows the audience to experience the story through actions, words, subtext, thoughts, senses, and feelings rather than exclusively through the creators' exposition, summarization, and description.

Even more importantly (assuming we want to enjoy ourselves bc this is supposed to be high quality entertainment), it adds drama. Rather than telling viewers what's happening, a filmmaker will use this technique to show drama unfold. 'Telling' is factual and avoids detail; while 'showing,' is detailed and places the human subject at the centre of the drama.

This technique is literally playing out in the narrative when it comes to Mike’s inability to tell El he loves her (or even simply write love Mike in his letters), which he never would have had to tell her (spell out) in the first place, if he had just shown her that he loved her.

It’s no fun having to spoon feed your audience. Instead, it's much more enjoyable for the storyteller to present the truth in the details, even sometimes contradicting very basic assumptions that are being outright told. Hence why, for example, when the Duffers were asked about the Vecna reveal, Ross used the opportunity to go on a mini tangent: 'the best twists are ones that you go, “Oh, I should have seen that coming.” As opposed to the twists that go, “Oh, well that just came out of nowhere.” So, “Oh, I missed these clues along the way.” But you get nervous when you’re writing it because you go, “Well, to me it seems obvious--'.

In fact, Show, don't tell is what largely allows surprise revelations to hide in plain sight. Because obviously, if a writer just tells their audience everything that's happening while it's happening, we would always see what's coming next.

And so the problem I have with downplaying or even completely refusing to acknowledge the importance of Show, don't tell, in the case of Stranger Things especially, is that, in order to comfortably subscribe to what is being told, I have to ignore what is being shown.

We see this play out all the time on Reddit in particular, which if I'm being honest is the only platform at this point that treats mere speculation about Will and Mike's relationship as if it is the end of the world. On the rare occasion the mods don't remove a byler related post, the post is either already negative towards byler or the comments are filled with fury over the poster simply thinking critically by speculating about byler. Even if you manage to get a fan over there in the comments to consider certain evidence pointing towards byler as incriminating, they'll still manage to end it by downplaying the Duffers and their abilities, because 'They're not that smart!'...

They'll ask for evidence, be presented with it, only to insist that it's all reaching because details mean nothing and everything about the show is actually just surface level, ie. it's not that deep.

Without even realizing it, they're low-key admitting that going the byler route would be smart, and yet here they are tirelessly defending a show that, according to them, has shit writers and no deeper purpose. All this does is prove that they are hoping this is the case. Because even despite being presented with strong evidence that the show might very well be epic, they would rather reject it altogether.

They would rather have one of their favorite shows suck and defend it religiously, then consider the possibility that it's good and gay...

Don't get me wrong, there are definitely fans on reddit that don't hate byler. I imagine out of the million in that sub, there's a silent majority that would be open to it. Keep in mind, most fans still active at this point in hiatus are hardcore fans, and so they're obviously opinionated, that goes for everyone on most platforms rn. And yet, I know there are very likely casual fans who are popping in there every now and then, the same people in the majority when after s4 dropped, saw that monologue and said What the actual fuck was that?

There’s a reason no other couple on the show has needed to hear the words I love you to believe it. Well, besides Steve and Nancy…

Because SHOW, DON'T TELL. That's why!

So, what do I mean when I say that Show, don't tell is why I no longer have byler doubt?

It's actually pretty ironic, but basically the moment Mike told El he loved her, that's the moment they showed us that he didn't.

I mean, for starters, how does one go about filming a romantic love confession? Because if we're being entirely serious right now, they made just about every artistic and creative choice possible to go against what a romantic love confession should look like to feel satisfying.

I mean, you'd probably want the atmosphere to be intimate, right? Make the audience feel like these two are the only two people in the room (world) for this moment?

Well, that's not the case for Mike and El, nor is it the case for literally any of their scenes in s4 (arguably a lot of their scenes in the series; Will the wise drawing in El's room, I'm looking at you). Almost all of the scenes with them together in s4 had Will in the background, often times in the literal frame between them. That is NOT how you film scenes for a romantic pairing that you want the audience to root for, from beginning to end.

You guys gotta understand, rewatch value is one of the most important aspects to this story for the Duffers. When talking about the prospects of s5, they mentioned that they rewatched all the Lord of the Rings, saying how important it was, despite what some fans might say about the ending being too long, or this or that, bc to them, it was necessary to watch it all, and to rewatch it and rewatch it, in order to appreciate the entire story as a whole, aka the way it was intended.

If you're a serious about Mike and El as a romantic pairing, but because of the way the show has set up their relationship over the seasons, you can't sit down and enjoy more than a quarter of each season bc they're either separated, broken up, or on the rare occasion they are together and happy, they're accompanied by a kicked puppy in every shot, maybe all of that's for a reason.

And that applies to the scene in Surfer Boy more than any other scene in the show, a scene that is supposed to be Mike's monologue to El... You mean a scene that directly parallels Mike's monologue to Will in s2?

When planning the end of s4, do we think the Duffers just decided they wanted this intimate moment between Mike and El to have Will in the frame behind Mike (visually piggybacking off of him, in an episode titled The Piggyback...) in almost every shot, including when he said I love you for the first time, for no reason at all? Or is it possible there was a reason for it? Just like there's been a greater reason for everything?

Like bro, I'm sorry, but even if what's being told in that scene is relevant, all of it still reads as either a lie, a partial lie, a lie of omission or a platonic truth hiding behind romantic phrasing: I don't know how to live without you = platonic (trauma bond), whereas I can't live without you/I don't want to live without you = romantic. The later is out of desire/want, the former is out of fear of the unknown.

The entire scene the lighting is blinking rapidly. And so the vibe they're going for here is uncertainty, which is quite odd for a love confession that's supposed to feel certain? Then we have El seeing all red the entire time. She's literally choking, hearing Mike struggle to muster up anything that could help her pull through, only to overhear Will calling Mike the heart, followed by Mike finally saying I love you????

And I guess according to the Duffers, nothing says true love like a love confession ending abruptly by a two day time jump...

Oh and how about, instead of them taking the time at the end of the season for El and Mike to have a private moment, where they could finally address their love for one another, let’s have them barely on speaking terms, and the one time they do talk, let’s have it be offscreen and mentioned in a private moment between Will and Mike, who in contrast to Mike and El, we're going to prioritize having a scene with them alone together at the end of this season...

In the last minutes, let’s have El look at Mike and Will, only to avoid them with visible annoyance. And THEN let’s show Mike visibly defeated by El's annoyance, instead prioritizing reassuring Will, aka his friend with whom he shares an I didn’t say it/ You didn’t have to bond...

I mean? Are we just not going to talk about it? The fact that I didn't say it/You didn't have to could pass off as a literal synonym for Show, don't tell...

It just kills me that even with all of that, the Duffers were like, You know what? Fuck it. Let's show them all the endgame couples lined up next to each other, with Will and Mike in the middle and El standing on her own in front of them. If by now they still refuse to consider it, after everything, this ending probably wont convince them anyways, but it makes for great rewatch value...

Seriously, if you're subscribing fully to the belief that what is being told is the whole truth and nothing but the truth (so help you god), then you're having to ignore all of that. And I can't ignore all of that, I just can't. Which makes it impossible for me to experience doubt anymore.

[originemesis]

"creation took 7 days; now watch me fuck it all up in one night"

canon divergent adam / abel // haz.b.in h.o.tel

21 + / mid-low activity / private

ordained and entertained by skeu ; icon templates by cinna! 💜💛

Commission icons by bbglucifer ;p <3 --- > xxx

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about // playlist // active headcanon // current verses // rules [beneath]

Caard-Esque:

Blog is 21+ for content concerns and mun is 25+ (an old) and will not interact with minors on this blog. minors should technically not follow me here either ~ so, don'tttttt...do that? thanks! if i catch you, you're yeeted to the shadow realm.

Do not follow this blog if you are sensitive to the sensitive topics related to this particular genre. I tag with "content word cw" for the extra wild stuff, but that's about it. adam literally has the highest swear/slur count in the show and he's only in 3 episodes, so be aware of that.

I tend to be private/selective as i get fairly overwhelmed with too much activity. i really get into plots though, and i'll spam the dash with some silly original dick chauvinism from time to time when ive fed my inner gremlins past midnight. That said, I do get easily overwhelmed when I'm following too many people and multi muse blogs in particular can exacerbate this feeling, so if I do not follow back - I might just not be in a good place to atm or I just don't see possible interactions btw our characters. It's nothing personal! ^^

This is a mutuals only interaction blog for my sanity (anons being fine). if i can see plots happening between us, i'll likely follow. but i get overwhelmed easily so please don't take it personally if i don't follow back or follow back right away.

I am not exclusive, but I prioritize my plotted threads and may have some mains/activity based off that as far as my main verse goes. But I will never be fully exclusive and i enjoy exploring different character dynamics. Also multiship is fine, but I am not exclusively here to ship or write suggestive content. My muses have always and will always require plotting and scene chemistry for me to consider writing ship material. In the case I do reblog shippy prompts still feel free to send in ofc! I'll see if I can make it work or not.

If I don't get a follow back within a week or two, if blogs i follow go inactive for up to 6-7 weeks, or if there's just no attempt on either of our ends to connect for an indefinite amount of time - i'll occasionally go through my list and soft block to clean things up. if we ever want to give it a go in the future, the option is there for us to re-follow and resume! i have in the past been made to feel like I'm walking on egg shells in rpcs regarding these matters and id rather avoid it here...im just here to chill, write and leave weird surprises in dms.

I don't like the feeling of being 'collected' so...if you are interacting with multiple of my muses, I ask you have a different dynamic for mine than them. This is just an act of courtesy I also extend to my rp partners. I interact more with folks that have a special relationship with my muse, so it's needed to deep dive into more interesting topics for me. I also do not usually interact w/ other of the same muse cuz I feel like I 'absorb' how others play him and I want to keep my version separated from that. I might give it a shot some times though depending on how it's presented.

I know that Adam is a bad guy. He's insufferable and can push buttons- but I am not him and I dislike constantly feeling like I'm being barraged for his actions, especially since I consider him to be a heavily layered character that should not be shoe horned into a standard 'ok irredeemable and never allowed nice things' box. So- if you honestly hate this character please don't interact. I am here for exploring taboo topics and ways that a flawed character can make others think he's justified, betray them, make people feel COMPLICATED things... I also love torturing my muse and taking the piss out of him, so I don't need people moving in and tying to constantly put him down/ruin his current plots by being god modey or not at least asking me how we should proceed in a power dynamic, or relationships cuz you don't ship what I ship, or find my interactions with other characters 'toxic' and 'not allowed'...let me explore and enjoy what I like on my blog within reason and do talk with me on dms if you don't like how things are going with our muses and you wanna explore other routes. I love to plot and I am very reasonable.

This post/my rules and conditions are subject to change based on what I get up to on here.

[nayatarot777]

do they still think of you? • pac

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• pile one •

this person definitely does still think of you. they mainly analyse their own feelings for you because they don’t know why they feel the way that they do towards you. i’m seeing that they feel like their feelings for you were a surprise to them, and perhaps they were in denial about it at the time of being around you. however, now that there’s distance between you two, they’re taking the time to actually learn how to acknowledge their feelings and become more curious about them. they could be the type of person who usually isn’t used to feeling emotions like this for people (especially after this amount of time has passed) but there’s some type of decision that they’re making mentally regarding their feelings and their thoughts/memories. you could’ve known this person through work (particularly as a coworker). i’m hearing that they’re trying to figure out whether or not they’re even good enough for you. i’m seeing them re-evaluate everything that they thought made them valuable in terms of connections with others. and it’s like they’re deciding that they couldn’t actually give you what you want. they see you as someone who’s extremely comfortable and abundant by yourself. perhaps they’re denying that you even reciprocate their feelings. i’m feeling a lot of self-sabotaging energy from this person. and there’s still an energy of denying their emotions currently. but they go back and forth. “do they like me? i think so. they did [xyz] so…probably?” < that’s what i’m hearing lmao. this person could experience you popping up into their mind, forcing them to entertain some type of contemplation about you, however i am seeing that they have the tendency to deny their feelings and go back to a “rational” and “logical” way of thinking to hold onto their self-control and self-governance. they could be someone who’s extremely comfortable being alone and just focusing on themselves materialistically. so, again, they’re confused about what they’re feeling for you and why they’re feeling it 😂. i’m hearing that they’re leaning more towards trying to just not even think about whether or not you reciprocated the energy. and there could’ve been a time when you helped them with something, too. maybe something extremely small. but they’re questioning why. why would you do that? you see how this person’s energy goes from contemplation, to suppression and denial, back to contemplation again? they’re trying to stop the thoughts but it’s not working lmaoo. talk about a vicious cycle.

• pile two •

for this pile, i’m seeing a no. and that’s because your time with this person was not a good one. it was full of ego clashes and conflict that left this person feeling emotionally drained. the 4 of cups has come out in this spread - and that’s a card of being completely emotionally disconnected and checked out of a situation. i feel like, emotionally, they’re done with this connection. and they’ve found a way to move forward into a much calmer headspace. i feel like at one point they did think about you, but it made them angry to think about whatever happened. they’re detaching themselves from that anger though, and they’re just focused on gaining peace for themselves. they’ve clammed up, i’m hearing. they don’t want to be bothered with this and they’re not interested in connecting to anyone else during this time either. they’re just enjoying their peace and quiet and their alone time. i’m seeing that they could be lying to themselves about not caring about you or anything that happened? but that’s the way that they’re choosing to handle this for the sake of their mental peace. they’ve gradually managed to move away from thinking about you - to the point where i feel like there’s a distance between the memories that they have of you and what they think about daily or weekly. perhaps when thoughts of you do pop into their head, they recoil from them and their ego fights them off by detaching themselves emotionally from those thoughts, just so that they don’t experience anger about you and your past connection again. they’re very self-protective right now and they’re really focused on just maintaining peace. they’re taking this time to temper their feelings and become aware of their own ego conflicts. i feel like, the times when they do think about you, it’s to think about what they need to learn from all of the egotistical conflicts that happened between the both of you. before they can fully close out this chapter and move on. i’m hearing that they’re identifying red flags within your past connection before opening themselves up to moving on with others again.

• pile three •

i haven’t really went into the cards that have come out in any other reading, but for you guys, i need to. you got the 5 of pentacles, the 10 of swords, and the 9 of swords. y’all. wtf happened here? this person does think about you - wayy too much - to the point of running themselves into the ground with their thoughts. this is extreme self sabotage for them, but they’re extremely hurt by something. they feel like they’re completely left out and isolated now. and they could’ve even felt like they experienced a financial loss (especially if you divorced this person and got a settlement within that). if not, they just feel like this situation has really impacted their self esteem. like they’re lacking seeing value in themselves now. they don’t see value in themselves - even where value is present within them. they’re so hurt by whatever happened, but not necessarily just an emotional hurt. more so an ego hurt and psychological hurt more than anything. they feel like they’ve completely hit rock bottom mentally, and like they can’t get back up from this. they’re having sleepless nights, weaving through all of their worries, fears, and anxieties. and they’re harming themselves more and more through this process whether they’re aware of that fact or not. i mean, i feel like they are. they really feel like they’re so alone that they can’t really do much else though. and they’re exhausted from living like this. they feel like they can’t take the final step to actually take physical action to wrap up being in this extremely mentally painful situation. this could even be preventing them from working on their usual hobbies and interests. it’s like they go back and forth between being completely exhausted mentally and choosing to just give up under the mental pressure of these thoughts, back to negative rumination and self-talk. they regress back from progress. they could really be trying to make sense of why they were betrayed in some way. i’m hearing them talk to themselves about how they tried everything to keep things together but they still were left in the worst position possible. or they still ended up experiencing major loss and poverty in some way - i’m mainly seeing in the material realm. this could actually be preventing them from seeing something (like a material opportunity) of major value around them now, because they’re so hurt and mentally defeated by this situation.

[bogkeep]

HAIZ EXPLAINS AMATONORMATIVITY: REDUX

it's 2014. a teenager rummages through the newspaper at breakfast. they're looking for comic strips, but instead see the headline of the sports pages, proclaiming some famous sports guy is "NOT INTERESTED IN RELATIONSHIPS RIGHT NOW."

"really?" thinks the young haiz, "that's meant to be news? the sports news??"

it's not like they'd ever read the sports pages before, but the scandal in that headline would not leave their brain zeitgeist of the day. it was a metaphorical pebble thrown at them — not the first, but the one that made them go "HEY. STOP THAT???" so they took to the keyboard to yell into the void to hey, stop that.

then the void responded.

what i wrote that day was probably one of the first posts about amatonormativity to make rounds on tumblr. i did not expect it to get thousands of notes, and it's no longer on my blog. even though the majority of the response to it was positive, i wouldn't want to bring it back, because

- it was written in a very 2014 way

- with very 2014 thoughts

- some people were really cruel to me for writing it

- i still can't read it without wincing

but:

i can write a new one.

this is not an argument about who is or isn't oppressed. that is not an argument i'm interested in entertaining, and it's not what this post is about. human life on earth is incredibly diverse and complex and i'm just here to-

OH MY GOD WHAT IS AMATONORMATIVITY ALREADY

okay so amatonormativity is like. the idea that A Lasting, Monogamous & Exclusive Romantic Relationship is the most important type of relationship in the entire world and the thing we should all strive for in our lives. (insert obligatory "the term was coined by professor elizabeth brake in the book minimizing marriage" here.)

it's not exclusively an "omg it's so hard to be aro :(" thing, because it's like, an all-encompassing Narrative foisted upon us that shapes the way we view and talk about relationships, and it does everyone a disservice (as is the case with all Normativities! we want to break 'em ALL down!! for everyone!!!!!!). nor is it intended to make people feel bad for wanting long-lasting monogamous romantic relationships! that's your personal business and i wish you well!

(it IS kind of hard to be aro in a world that constantly argues that you're lacking The Most Important Experience That Makes You Human And Life Worth Living though. not gonna lie.)

- an easy example is how the word Love is, in a Lot of instances, for a Lot of people, basically synonymous with Red Hearts Kissy Kissy Smooch Smooch. like we ALL KNOW love is more than that, we love friends and family and strangers who were nice to us that one time and our pets and our favourite foods and our favourite shows. you kind of have to clarify when you mean Love in any other way than Romantic Love. which is wild, considering how Love is such a vast emotion that covers a lot of ground, and it keeps zeroing in on this specific kind.

- related to that, i have a whole internalised powerpoint presentation about how, if you put all of your relationships with other people in a pie chart, the Romantic Partner slice is likely to be very small compared to the Family slice and Friend slice and Acquaintance slice and all these other connections you have - yet it has, comparatively, a LOT of publicity and framework that some of the other categories find themself lacking. yes, a romantic partner/s is/are someone you're likely to share a lot of time and life with, so it makes some sense for sure - but not everyone has romantic partners, or the same priorities as far as commitment goes.

- the stigmatisation of being single/unpartnered. i get the impression that a lot of people have stayed in unsatisfactory relationships because it sounds better than the Dreadful, Terrible Alternative of Not Being In A Relationship. i think there has been a lot of pushback against this particular mindset in recent years, always flaring up around valentine's day for some reason - but it still feels like it's expected to be a Temporary State, not something you'd choose or prefer.

- romance as a Humanising Component in storytelling. say you've got some sort of non-human character, such as a Robot or a Beast. what is the easiest way for them to gain Personhood in the eyes of the audience? probably by falling in love, because falling in love is the Most Human Thing There Is. i think this also extends to queer stories in a similar way - a queer romance may win over a non-queer audience in a way other queer narratives may not, an "oh they're just like us" moment, if you will. these aren't bad stories to have, and queer romances are important stories to tell! it's just... tinged with a taste of "very well.... if it's TRUE LOVE... i can find it in me to extend some compassion......."

(and! on the flipside! an easy way to dehumanise an antagonist is to be like "AND THEY DIDN'T EVEN FEEL LOVE THEY JUST HAD NO HEART THEY WERE SO INHUMAN ")

(speaking of stories you know when a series ends and they partner up all the remaining single characters in a hurry or in the epilogue because god forbid they dON'T GET PARTNERS)

- you know how the reason for legalizing same-sex marriage wasn't because marriage is THE ULTIMATE EXPRESSION TRUE LOVE, but because it comes with a lot of legal rights such as tax benefits and hospital visitation rights? and uhhhhh isn't it kind of weird that marriage is the One thing that gives u a lot of those rights and it's 1) still presented as The Ultimate Expression Of True Love And The End Goal Of Life rather than a legal contract, and 2) not available to everyone? I THINK IT'S KIND OF WEIRD.

- polyamorous relationships are also stigmatised & there's a lot of work to do when it comes to marriage & parental rights for polyamorous couples. i'm sure one could write an entire list on this topic from a polyam/relationship anarchy angle.

- the stigma against sex In General is rooted in so many things, and i believe that a huge part of breaking down amatonormativity is to destigmatize casual sex, sexual relationships that aren't romantic, sex work + sex worker rights & everything in this category. thinking about sex as a thing you can/should only do with the love of your life after you're married hasn't served us very well, i think.

- the idea that our entire life is building up to The One Important Relationship is garbage. we have a lot of relationships in our lives, many of them temporary, and all of them matter to us in some way. you are not a half looking for another half to complete you - even the most compatible person on the earth is still going to be a human person who is flawed and ever changing.

- ok so there's a thing that happens when people want to prove a gay couple is Actually Dating and not Just Gal Pals and it's like "WOULD FRIENDS EVER DO THIS???" referring to some kind of intimate moment - and it's like, i get what you're trying to prove, but... some friends Would Do That, Actually. there is no act on earth wholly exclusive to romantic relationships. i subscribe to the idea that everyone gets to decide how they define their relationships, and what boundaries they have for each kind. maybe they WILL kiss their homies on the lips. with tongue.

- queerplatonic relationships: not only did we have to create a term for a Kind of committed relationship that isn't a romantic one, but we have to fight the deluge of "but that's just dating!!!!!" and "that's just having a best friend!!!!" - the thing is, it CAN be those things if you choose to, or it can be A Secret Third Thing. the way i see it, a queerplatonic relationship is just a Framework you can apply to a relationship that's like, There, but doesn't seem to fully fit into existing categories. because the human experience is vast and weird! i think it's unfair and kinda normative to reduce it to "dating, but for aros" - an Oddly Intimate Connection That Is Hard To Categorize can befall anyone, and as i presented in my pie chart theory, we don't have a lot of framework to discuss them.

that's all i've got for today. i hope this was enlightening or affirming for some <3

[neitomo]

Today, I've been thinking about the U.A. school festival in their second year. Mostly because I want to entertain the idea of class 2-B doing a band performance since class A's was so well received the previous year.

Half of this stems from my headcanon that Tsunotori is a huge Tommy Heavenly6 fan, so I like to think they'd cover one of her songs. Maybe +gothic pink+ or Pray?

Vocals - Tsunotori

Lead guitar - Kodai

Rhythm guitar - Rin

Bass - Kendou

Drums - Tetsutetsu

Originally, I wanted to put a keyboard/synth in the band, and have Monoma play that. This is entertaining the headcanon that he's played piano from a young age (which I think a good few people have!). I'm not actually sure how easy it is to transition from playing piano to keyboard because I don't play either, but he's canonically a fast learner so, it wouldn't really matter? And that's why I was thinking about having him on synthesiser. I don't know how they work either (LOL) but, hey, fast learner!

But, I don't know, none of the Tommy songs I was thinking about really needed a keyboard or synth so I came up with something I think would make more sense. Monoma loves being able to make his class shine, so he'd be more than happy to take on special effects.

I haven't really worked out a way to incorporate everyone's quirks into the performance (and I just can't imagine them having a dance team like class A had), but the visual effects would be mostly done by Shiozaki and Komori. They could get a forest theme going on, maybe? Awase and Bondo would be perfect for building a set for them. If they needed to reach high up to place anything, Kuroiro would be able to just slip up the wall. Tokage would be so helpful during preparations and the actual stage because she can be in so many places at once. I think her and Yanagi would be crucial here. With Tsuburaba solid air to help him around the concert hall, Fukidashi would be able to give them some booms and zaps, along with Kaibara to literally get the room shaking.

I think Shoda would orchestrate everything and help keep everyone on task since Kendou would be pretty busy learning the bass lines. I feel like Shishida would be on sound tech, maybe along with Honenuki.

ALAS, onto the hidden star of the show himself: Monoma. His job is to do the show stopping finale. But, you're going to have to bear with me. It makes sense, you just have to have a little belief.

It's pretty established he can't use two quirks at once, but I've decided he's learned to. I mean Todoroki manages to use his fire and ice at the same time eventually, so Monoma overcomes this obstacle to.

There's a lot of anxiety surrounding this, because it depends on people in class A to be present whilst it happens. Luckily, the songs I've chosen don't last longer than five minutes (cough cough, elongated use of Erasure increased his limit by a few minutes but lets not get into that yet) and most don't anyway. He needs to get Hakagure and Bakugou's quirks.

He just needs to catch them at the perfect time before the show starts. Either before they enter the hall, or whilst they're in the audience. Hakagure's Invisibility would allow Monoma to get on stage without anyone knowing he was there, and I'm imagining something like Bakugou's cluster move, but exclusively visually. Obviously, Monoma can't really replicate people's ultimate moves, but uhh, let me have this? Cluster is really pretty in season 7 anyway so I think it would be cool to incorporate like this.

And, yes, I have considered the fact he would have to be naked. I choose not to think about it. It's fine... he knows his time limits. It's MY headcanon and I say NOTHING GOES WRONG.

[soaps-mohawk]

I honestly wouldn’t mind having a second omega if we get to be a power couple and torture all the boys with how cute and sexy we are tbh.

Would also love to see how the reader handles seeing the omega from the place again

Happy? Nervous? Excited?

Would love to see what you would do with it

(But im also selfish and would be iffy at dirst but it sounds like a cool idea)

That's basically the concept of my idea that involves two omegas 😂

I'm going to use your ask to explain that idea finally lol. I didn't nap but I am more awake now than I was lol.

But essentially, that idea exists sort of in a world like the one in CRCB, except the CIA is less involved and it's just more governments that require omegas to join the omega initiative and it's not exclusive to military, it's more just widespread in general packs are required to register and omegas get assigned based on things like personality tests, skills, temperament, etc. This fic would focus more on the opposite end of things, though, as the main omega would not be an institute trained omega.

Basically, TF141 already has an omega at the time the fic starts. She's institute trained (not the reader from CRCB though, would be an OC), and bonded and claimed by Price and Gaz. The fic would focus more on Simon and Johnny because Simon likes Price's omega but just isn't feeling it. Of course, the imbalance is starting to cause some tension within the pack, even if they don't mean for it to. That's a big no no, so Laswell does some digging for them and finds who she thinks is the perfect omega for Simon and Johnny and thus enters the reader.

I don't have much decided on as far as the reader's backstory goes (I'm trying not to entertain this idea too much yet lol) but she didn't attend an institute. So, she gets to go get her life upended and live on base with a bunch of crusty stinky military dudes (i'm kidding...mostly...) and of course there's some adjusting and tension and angst and sweet bonding with everyone. (again, I haven't thought much into the details on this one) But, eventually, the omegas kind of band together since they're in the same boat and they're together and alone a lot of the time while the guys train and are sent out on assignments and such.

Of course we get that sweet wlw goodness in there and it's kind of borrowing a lot from that line in CRCB where the reader remarks that some alphas like to watch omegas together 👀

Probably would be a lot spicier than CRCB has ended up being. Of course there will be angst (it's Ghost what do you expect lmaoo) and drama and probably a lot of tears but yeah. That's the basis of that idea.

Switching gears here, I have played around with the idea of bringing the other omega in for a cameo or something, but I wouldn't bring her in for like a full time kind of situation, a second omega type thing or anything like that. As much as my heart years for some wlw representation, I'm leaving it as just being something that happened in the past and focusing on just the reader and the guys cause I know that's what people have come into the fic expecting.

[cartoon-buffoon]

Random rambles from Toon Buffoon time! So for no particular reason at all I'm gonna go on about an Epic Mickey AU idea I've been planning yet will probably only fully commit to writing once I play Epic Mickey Rebrushed as I actually have no formal experience with Epic Mickey—1 and 2—as I've not played them and know only the surface level plot, crucial events, and characters. Sorry, I'm a classic Oswald fan (disgusting I know)

Anywho the actual AU name is named "Blood & Ink"! And originates from a fic of main from the same name, the fic itself is a setup and an introduction to the AU and tells some crucial details of what's going on in the world. For instance the world of wasteland is going into ruin, Mickey has mysteriously "abandoned" Oswald and wasteland for quite some time, Oswald has the magic brush, and he ventures out to a land tucked away in the deepest corner of wasteland in order to call on the help of powerful creatures to save his world from total disaster only for said creatures to quickly go "lmao, no" and turn on him.

Now for a quick briefing on the AU as I'll avoid going super in depth and I'll hit the key things: The antagonists species' name is called "Terrors", and there are 4 (technically 5) of them. Also wanna note the Terrors aren't original characters and are just my favorite rubberhose horror characters as this is kinda a crossover AU. The 4 terrors are the Cartoon Dog & Cat, Skitzo the 1920s Killer Bear, and Bendy/The Ink Demon and they are neither toon nor human, they do have hearts but not normal ones due to their fame being dark and they aren't made of paint or thinner—like the name of the AU their bodies and hearts are made of blood & Ink, two substances which puts them on a higher plane of power making them effectively godlike compared to toons. Each of them have a unique ability exclusive to them whilst also having some sort of basic toon force like squash and stretch and exaggerated physics. The powers themselves come from a mysterious force in this AU (and this is an original idea!) which are basically corrupted versions of the tints and turps in EM, these malicious trickster spirits are called clots and clods which are red and black respectively representing blood and ink and are chaotic neutral, they give the Terrors powers because it entertains them and nothing more and just like to watch chaos be sown. The idea behind Terrors is also something I came up with where instead of being forgotten and ending up like Oswald and the rest of all the Wasteland denizens who are forgotten toons, the Terrors are creatures—once toons—who are unwillingly remembered by people. People wish to forget them yet can't due to the atrocities behind them, they unwillingly live on in the psyche of the public being not exactly popular but CERTAINLY not forgotten. Said atrocities are also caused via them becoming hateful and bitter, this kinda gives them a parallel to Oswald who was also bitter yet the difference is Oswald resented his brother who he believed took his spot meanwhile the Terrors resent their creators and the people who watched them. Each of the Terrors do have an original backstory for this AU yet that's way to complex to talk about and super long winded.

On the other side of the coin this AU also has Oswald be the main character where he's extremely bitter since the events of this AU take place after the first game (maybe after the second one as well yet I haven't fully decided?) either way he believes that Mickey left them since he's been gone for so long and things mysteriously started to fall apart abruptly. All that progress from the first game effectively means nothing and does little more than sting Oswald since he firmly believes that despite going through EVERYTHING he was still inevitably left to be forgotten which is kinda why he seeks out the Terror's help in the first place. Seeking out their help goes horribly wrong however and in this AU Oswald effectively gets murdered by them only to come back to life with the power of the clots and clods and he's given powers which are basically toon force except suped up and there's no limit to what he can and can't do. The only draw back being he feels EVERYTHING that his body goes through and has no actual resistance, for example he can stretch his limbs yet he physically feels like his skin and body is being stretched out. He can do basically anything as long as he can tough it out for the sake of finishing a fight. Also as part Terror he gains the ability to actually hurt the creatures he summoned and this is where the main part of the AU starts where it's a quest to stop the chaos he awoke.

Alright ramble over, this is a stupid overly edgy concept that only exists because I like crossovers and apocalyptic scenarios/scenes. There's a lot more to talk about such as Oswald's personality shifting due to his new powers and body, Mickey's role in the entire thing and why he "left", the Terror's unique backstory and lore explanation on why they do what they do, the Terror's personality and dynamics with one and another, their powers. As well as a few side characters who are kinda important in helping Ozzie. Idk I'm tired now AU ramble over.

[tzigone]

Headcanon reboot - super tech for the masses

So one of the aspects of my headcanon reboot is that it kinds ends - people age and retire, we don't have to keep villains in play (the reformed ones stay reformed) and so on. And one thing I started playing with is that this world doesn't have to stay like our world. I completely understand why it does in the comics, and I do think it a good business decision, but this is just for fun, not money, so I can make characters do logical things.

So, when someone invents a potentially world-changing and fortune-making technology, it can actually be mass-produced, used by ordinary people, and change the world. Instead of being confined to heroes and villains with no proper reason given (because it would make the world our heroes operate in unrecognizable and be a barrier to entry for new readers).

Please do forgive me if I've misremembered the details on how these techs work. Or if they've been given multiple explanations, chime in with others.

Chronologically, the first one I have on my list is Ray Palmer/The Atom's tech (shrinking things or people and with the ability to alter mass while in shrunken state). This would be circa 2001. Originally he was thinking about how, with everything shrunk, farmers could grow more and freight trains transport more. But the tech only worked on him, so he wasn't ready to publish. But later, he did manage to get it work on others...and still never published or put it out in the world. At least, he unshrunk the Hawks. It's been a long time since I read it. Hope I'm not misremembering the details and that wasn't another "it only works this one time" sort of thing.

In this universe, he will. He's still a graduate student, so I guess we know what his thesis is. I'm undecided on whether to make the lens still made from white dwarf star (which makes no sense) or make it regular lens inspired by the idea of a white dwarf star (which also makes no sense, but lends itself to the mass use he was thinking about, since material for the lens would be available). A lens (that he crafted himself, so the precision shouldn't be an issue), a control panel, and an ultraviolet light - doesn't like it should be too expensive to manufacture (though end-user price may still be very high at first depending on supply and demand). I was modeling IP treatment after Yale's for compensation, but I don't really know how universities deal with tech patents like that - sell or license the patent and would licenses be exclusive? Anyway, he'll have a hell of thesis. But the rest of the comments on him are only relevant if the tech goes mainstream. Then he started traveling through phone lines. That has even more massive implications for goods transport (I haven't really put any thought into the agriculture, I admit - just transport). But it's not going to happen overnight. I would expect massive regulatory hurdles. Safety tests (both on goods shrunk and people). And if they use phone travel, there's other safety issues to be addressed. Do they use the same phone network? What about infrastructure improvement? Obviously some countries will move more quickly than others and some will be more likely to respect the patent than others. The mid and long-term effects as the tech actually goes mainstream - takes time for factories to be built or modified but it will happen. I could still see lots of loading and unloading jobs, of course. Eventually expect your Walmart's to have their own and get things shipped to them that way. Businesses like gas stations may still be getting last mile delivery of chips, but the number of truckers should go down a lot, so there's unemployment in that field. Not mention trains and shipping companies and ports. Recession time? Some countries even heavily hit. Job rearrangement from things it's more profitable to outsource now that shipping is so quick and cheap. This could really impact commuting. Many people love cities for the entertainment, etc. But then you have the folks with hour and half commutes from the suburbs. It may not be affordable to the average person to own their own for a long time (so they can dial a phone, shrink, then their desk phone auto-answers and they unshrink and thus have a 30-second commute), but bus-depot like places could allow someone in Lawrence, KS to park their car (pay a parking fee), shrink and transport the location a 5-minute walk from their work in Manhattan instead of having a more expensive home closer by. I find decoupling employment location from living location interesting (and often discussed in regards to remote work), but I'm not sure how much it'd happen. More useful for long trips than short ones, of course. We have to think about security implications (especially if used internationally). Gotta check passports, go through customs, etc. Could someone send a bomb via phone line? This is pretty fantastical tech to start with, but with the ability to not decrease mass, would it still have full explosive power - I really don't know how various bombs work.

Next up is Karen Beecher/Bumblebee in 2003. I am not using her shrinking, as I think it makes to much like Wasp. But from one of the guides, it was said the antennae of her costume were solar panels and that's what allowed her to user her mechanical wings and fly. That kind of solar panel and battery would make massive, massive impacts (I'm assuming it's easy to scale up/down). And quite likely move though regulation way more quickly than Ray's tech. Solar panels and batteries already exist. Now, like so many comic heroes (and villains), she's a genius, but she's still just a teenager (and not a wealthy one) when she builds it, so it should be very affordable to produce (possibly only a couple thousand dollars retail for car-size setup once competition is in place). She was on the Teen Titans with Roy, and Ollie is all for the environment, so Queen will be the first company introduced to her tech, and the first to license it. Non-exclusive licenses all the way (which Ollie is happy with and spreading the news himself, as it suits his personality). The solar panels are great for houses and cars and factories, but the batteries should end up all over the place - cell phones, children's toys, remote controls, etc. It'll take to time to get production chains in place, but she's going to be a billionaire very quickly. Geolpolitical consequnces are again rampant - based on who produces oil, who refines oil, who has the contracts for mining the material, where production factories are, etc.

Flash has some genuisy rogues who reformed (fora while) and they come later. As this universe doesn't have to keep them in play, I'm not flip-flopping them - if they reform, they reform. So I may have Captain Cold and The Trickster in play. The Trickster has anti-grav tech. I'm not sure how much planes are still in play, but it's a thought. Might be moving furniture around. Finally have flying cars (with regulations/mechanical restrictions that people will try to get around)? Now, Cold had freeze gun. A nice safe one that has no negative consequences. Good for home protection, since it doesn't really matter if you accidentally shoot your kid. And could you just have the ambulance arrive, freeze the patient and transport them to a hospital? That would effect EMT jobs. I'm not going to have the gun do some the wackier stuff (like de-aging someone - wow what a tech to to introduce).

[whoreviewswho]

Nothing's just rubbish if you have an enquiring mind - Paradise Towers, 1987

At the time of writing, it is impossible to refute that the production history of Doctor Who in the 1980s is incredibly, thoroughly documented. Recently, I saw a video floating around fandom on Twitter from the now current production team being disparaging and critical toward the mid-80s period of the show. None of the talking points that came out of this were anything new but it did highlight, for me, the biggest problem of this era by way of how much it was not discussed. Mid-80s Doctor Who was bad. Mid-80s Doctor Who was also made exclusively for the fans. I think that fans feel, to this day, somewhat uncomfortable addressing this fact. After all, they are a significant and vocal subset of the programme’s audience and the ones who imbue themselves, or in the mid-80s were imbued by the production team proper, with a sense of ownership and understanding of the show that eclipses everybody else’s. We know how Doctor Who works because we’ve seen it all, we know it inside out. If it isn’t working for us, it must not be working.

Of course it goes without saying that this is completely tosh. Doctor Who did and does not exist solely for Doctor Who fans. It doesn’t even exist primarily for them. Doctor Who is a programme produced by a public broadcaster in Britain as part of their remit to inform, educate and entertain. No matter how much Russell T Davies and the BBC at large would prefer one to believe otherwise. At any rate, a programme with that comfortably met the BBC’s mission statement and was appealing across demographics of the British public was not the one they John Nathan-Turner had been producing for, arguably, four years at this point. 

But this was, thankfully, to change thanks to A. the appointment of Andrew Cartmel in the role of script-editor and B. the enormous falling out between Eric Saward and JNT leading to the latter refusing to hire any old hands that would have previously worked with them as a duo. Incredibly, this decision led to an enormous uptick in quality for the next three years. Wild. One of the first writers that JNT sought after for season twenty-four was Stephen Wyatt, a promising new talent at the BBC in late 1986. Following the hiring of Andrew Cartmel as script-editor, in early 1987, JNT arranged a meeting between the two writers where they got to discussing their mutual admiration for the works of J. G. Ballard. The pair began to construct the basic plot that would become Paradise Towers with Wyatt taking particular inspiration from his own experiences frequenting council housing in London's East End.

Season twenty-four, and really beginning with Paradise Towers, would mark a significant shift in the style and tone of Doctor Who from previous years. Cartmel and his team of writers were heavily inspired by contemporary comics, specifically the series 2000AD and the works of its writers such as Alan Moore, Grant Morrison, Dave Gibbons, Pat Mills and John Wagner. The second major change Cartmel employed, however, was a distinct turn back toward Doctor Who's cultural role as key viewing for British families. Regaining the general audience, and by that I mean adult non-fans watching the BBC, is one thing (and arguably the much easier one) but the task of reframing Doctor Who as an important programme for children was surely the more mammoth and, I would argue, necessary effort. Let’s not kid ourselves, where would the older fans come from if not childhood passion for the show? This is really the sole reason why fandom can never be trusted for knowing what makes for good Doctor Who on television since the answer invariably returns to “the ones that are like what I watched as a kid”. I don’t mean to spend any more time ragging on the latter half of the Eric Saward era than I have to but fully appreciating Paradise Towers simply has to go hand-in-hand with the acknowledgement that seasons twenty-one through three were playing to an older audience than Doctor Who was ever designed for. Yes, it was conceived as a programme to bridge audiences between two programmes that were targeted at older and younger demographics and Philip Hinchcliffe was correct in refuting claims that his version of the show needed to be watered down by arguing that it’s not made the children’s department; it’s made by the drama department. 

BUT this line of thinking was part of a wider rationale and objective for the show to introduce children and families to mature concepts and themes through the lens of a science-fantasy adventure serial. That’s what Doctor Who does best. The violent thrillers being told about video nasties and psychotic mercenaries being chopped up by cyborgs don’t cut it as family entertainment, even if they were really good. Paradise Towers is the Cartmel era at its most children's television. This is no way a discredit and certainly not something that disappears after this season; the balance simply becomes more nuanced. Despite its reappraisal over the years, I would find it would be hard to object to any adult viewer now whose opinion is simply that this was a bit too children's TV for their sensibilities but I think that this was still the right move. Even if this did swing too far into the realm of pure children's entertainment, Doctor Who had been so far away from that realm for so long at this point that an aggressive swing the other way was necessary. The show needed to even the scales before we could move back toward something a bit more overtly mature. Paradise Towers carries sense of a new era really beginning to fall into place (Time and the Rani is really a hangover from the Colin Baker era) but it's not quite there yet. It is similar in that way to a story like The Beast Below, for example.

With that family audience in mind, it is no surprise that the basic story of Paradise Towers is incredibly easy to get your head around; a dilapidated housing complex, that was designed by an evil mind who thinks his work is ruined by having people actually live in it, is out to kill the inhabitants. The foundational elements of this story, however, and the broader socio-political context is incredibly dense and opens itself up to thoughtful conversation about modernist architecture as an extension of urban renewal. Paradise Towers is, quite blatantly, a council estate, a place where all of the children and elderly were shunted into while the able-bodied were sent off to war. Contextualising the story in real-world history of Britain, we know that this is not what was really happened. What was actually happening under Thatcher's government, and buy no means ended with her, wax urban renewal of low socio-economic areas that largely neglected the people who actually lived there, redeveloping these parts pop England to be glimmering examples of perfect modernist architecture. Whether they were homes for those who needed them or not was a less important concern. In the case of Kroagnon here, the triumph of having built something is more important than it actually being put to use; "The whole place is polluted with flesh". And, of course, the more intellectual members of the audience would be quick to realise that Paradise Towers is obviously riffing on High-Rise. None of these things matter to a six year old though. What matters to six year olds is that the bad guys follow orders from a monstrous entity that prioritises a product and an aesthetic over living people. And, perhaps even more importantly, those same guys are just as capable of realising this is wrong and joining the good guys if they know that they should. The takeaway from this parable is as simple as 'Everybody should work together to take out the common enemy'. Which, in this case, is an actually life-threatening entity that is abusing, and symptomatic of, a larger system.

While Nicholas Mallet would never be my first choice for all-time best Doctor Who director, he does some very admirable work in this serial. Right form the off, there is a great juxtaposition between the devastated horror of the towers and a Yellow Kang being hunted and killed with the stark, shiny retro-futurism of the Doctor and Mel's, themselves an extension of those aristocratic adventurers of Victorian fiction, absorbing their bright and chipper tourist material. That being said, I love the Doctor's immediate resistance to the advertising material. The beginnings of Cartmel's interpretation of the Doctor as a scruffy defender of the lower classes are immediately apparent in this story.

The Kangs themselves are an incredibly simple realisation of what is unambiguously a political idea; they are the children neglected by the system who grew up to be warriors and hunters, just like the Rezzies did though in a much less malicious fashion as children would. It is a very dark idea but all of it is extremely pllatable for families. Speaking of the Rezzies, Tilda and Tabby are easily the most hilarious aspect of this story as an adult but they would surely be quite genuinely frightening for kids. When you are a child, there is something deeply unsettling and unnerving about the elderly. Their existence is so far beyond your scope of understanding that they are really quite alien and ripe for scares. Mel's kidnapping in episodes two and three is actually very unsettling considering the limitations on play here. For the adults, residents of the dilapidated towers descending into cannibalism is either going to come off as hilariously silly or the least apologetic Ballard rip in the whole serial. For those who really love this, it is obviously both. Tabby hilariously layering cream on Mel's biscuit is probably my favourite moment of comedy in the whole story.You can see the influence this era and this story specifically must have had on Russell T Davies' conception of Doctor Who. Gridlock and Dot and Bubble have far more in common with the stories of season twenty-four than any other in the show's history.

The 2000 AD influences are really all over this production. The aesthetic of this world and the specific socio-political subtext feel perfectly in-step with any of that house's publications. For all the Kangs' dialogue, their use of language, is silly and naff on-screen, it would be incredibly easy to dismiss on the written page. Is this especially different from, say, the language of the Mutants in The Dark Knight Returns? It is no surprise that this particular story inspired its own independent comic-book series later down the line.

But, that being said, the biggest problem here is the actual production which is, frankly, overextending its reach once again. Everybody involved is trying very hard to sell the story but this production team is not up to the task of realising Wyatt's world (Richard Briers is probably the sole exception to the claim that everybody here is trying their best to realise this material. Granted, his performance is well within the remit of children's TV villain but not in the right way). The sets are quite good though the lighting does ether cheapness no favours. The Happiness Patrol, for example, improves on this. Take the lighting in episode three's interrogation scene. The idea is there but it doesn't quite work. The cleaning robots are bloody terrible too. A redesign could have gone a long way to saving them. The legs hanging out the back are great but they're just not scary at all despite how great they are on paper. Pex is probably the biggest victim of this production not working. great character and Howard Cooke gives his all in it but he is simply the wrong casting choice for this. With that comic-book influence in mind, it is easy to see how Pex was intended too operate as this headstrong, hyper-masculine parody of the typical superhero/comic book action hero. Again, imagine him on paper being drawn like The Punisher or Judge Dread. The scrawny Howard Cooke is not the actor to convincingly sell this. I'm not entirely sure that this idea actually lends itself to the story being told. Pex is perfectly suited to the aesthetic of Paradise Towers, the tone is on point but this quite angry story about a very specific cultural context seems at odds with Pex's little story about being a deserter from war that tries to play as a superhero but is naturally ill-suited to it. It's very endearing but just its own little thing in this world rather than part of a greater thematic whole.

In his second story, Sylvester McCoy is great but, again, is plagued by that affect of being not-quite there. The script characterise shim well enough though somewhat generic and the matter is not helped but his performance still being in its infancy. It's not all pratfalls and mixed metaphors as some would lead you to believe but the multitudes that came to define the Seventh Doctor are certainly not here yet. Just like watching him parade around with a not quite right umbrella, the shape of it is there but the full definition isn't. The Doctor has so many excellent moments in this story. His outwitting the Caretakers by simply weaponising authoritarianism to suit his agenda. It's a very simple and somewhat obvious little scene but it perfectly illustrates the idiocy of blindly following inane orders; "Rules should always make sense". The shifting seats in the interrogation is also a lovely bit of theatrical play and there is a surprising glimmer of darkness when Pex volunteers for the mission that will kill him in episode four, as if the Doctor knew things were always going to play out that way. He doesn't even try to stop him from tackling Kroagnon and being blown up.

Then there's Mel. Mel sits awkwardly in this story. The world of a decaying, children's television dystopia is not an inappropriate place for a character such as Mel, who is already really just a kid's TV idea of 'the smart and plucky girl one", to inhabit. Bonnie Langford commits herself admirably but, in contrast to the Doctor, her presence is not much of a disruption to the narrative and the character is so thinly drawn that any attempt at thematic or subtextual threads to be drawn between her and the events of the story are so thin as to be entirely non-existent. Langford and McCoy play off of each other well enough but it is nevertheless painfully apparent that her character was conceived to play off of Colin Baker's Doctor and a lot of her role as a foil is nullified by the stark difference between their respective characterisations of the Doctor.

When I first saw Paradise Towers, I really did not take to it. Likely it was my previous conceptions of the Cartmel era as a fan, misconceptions that were likely informed by the impact of the New Adventures novels in fandom, that blinded me to how much good really is in here. The Cartmel era is not hard-edged science-fiction for mature audiences and Doctor Who fans. Like the best offerings of this programme have always been, the Cartmel era, and Paradise Towers, is an idiosyncratic little show for families that's punching above its weight. 

[remedyxtragedy]

Important conversation to be had up ahead--

There are plenty of absurd things in this world I've long since stopping caring about because it is my understanding that there is only so much that can come from fretting over things that are beyond our control, however still I must reiterate that there are equally as many absurd things even I absolutely have to recognize and address because too often do they just fly under the radar. Such things including the romanticization of murderers, serial killers, and literally any disgusting degenerate who we should unconditionally deplore and reject.

Why, why in good God's name is this even an issue? Why must people like this further taint my perceptions of humanity? Frequently, I try to remind myself that this world is still worth living in, that out there exists a vast sea of good, benevolent people who make the experience all the more tolerable and that I shouldn't let a few bad eggs ruin the joyride of life, but then...when I go on the internet and stumble upon yet another case of some fatherless disgrace sympathizing with, simping for, and sometimes even flat out idolizing a serial killer, whether they're real or fictional, instantly I want to leap out the nearest window because I just cannot fathom for the life of me how these people are even real and how on a daily basis, I am coexisting with them.

I don't know why some people think that just because they're folding over a fictional serial killer it's trivial next to the fans of real life shit stains on the cloth of humanity, but I will gladly take them by the hand, sit their ignorant asses down, and explain in vivid detail why that is an abhorrently unsound mindset. I can't help but glare at my own sister in disgust every time she goes on about how she like's Ghost Face; my scorn is not exclusive to people outside my family--I either hate or love everyone, no one is spared.

There's a stark contrast between admiring how these characters are written and incorporating them into your work innocuously, as I too can resonate with, and just straight up finding them attractive regardless of the profoundly disgusting things they've done. I don't know what the psychology behind this looks like, I'm obviously in so such way educated in that regard, but maybe It's really easy for me to not fall head over heels for legit menaces to law and order because in my time I've read a good few encyclopedias on these kinds of people and am now cursed with the knowledge of how life can, has, and always will be horrifically desecrated by these monsters. It's just one of the few things I just cannot stomach.

Confidently, I can declare that we as a species are regressing, and it's evident in the good-for-nothings who spew nothing but parochial, myopic bullshit and are ever so sneakily infiltrating the public scene. As I'm a Christian, I trust in Jesus's return and the rapture, but as an individually intuitive girl with a wild imagination and dark thoughts that ceaselessly loom over me no matter how badly I want them to go away, a funny thought I quite like entertaining is that every effort humans make to consolidate our presence here on Earth only brings us closer to our inevitable demise, at some point we will outstay our welcome in this world, try and bush barriers we were not mean to, and the outcome is gonna be ugly. It all starts with little oddities here and there, little creases and cracks being formed in our design, and those things amass into a bigger formidable issue composed of all the fissures we've failed to patch, and that happens over and over all gain until it balloons far out of our control into a permanent fracture that we're just gonna have to learn how to mold around and coexist with. Perhaps one day, and one day soon, they become too much for the scaffolds of our civilizations to bear, which at that point causes the creeds and views we've founded our homes, hospitals, economy, society, and government upon to come toppling over until finally we find ourselves descending into a downward incline towards total catastrophe. Let it be known, that Idiosyncratic is founded upon this random notion I threw together during a more darker period in my life. I never would've thought such misanthropic thinking would culminate into the best premise I've ever come up with, obviously in my personal person.

Imma be working on a series of artworks showcasing what the Whitman propaganda in my book is gonna look like, and an idea I have for one of them is a visual displaying the human evolution chart except after the Homo Sapien stage we start regressing all the way back to whatever the hell the first stage is, until again they continue to evolve but iat the end of this series instead of there being a human it's Whitman himself, who is by the by no way shape or form human. It's like, we rose, we fell, then rose again--but no longer are we what we were before. I probably sound mad right now, but I promise it'll make a lot more sense once I actually make it.

Anyways, that's all I got to say right now, but just as a final comment--why is it that people are so adamant that it's either science or religion? Why can't everything be perfectly and meticulously intertwined? The way I see it, faith is not founded upon having absolute definitive proof of a a higher omnipotent being, it's believing in them and trusting in them unconditionally and wholeheartedly, you needn't know that they're there to know that they're there, if that makes sense. For me, it was never a matter of whether or not God is real--that much is practically innate to my being--it was always, why does he work in such esoteric ways? When I was younger, the answer was far beyond me, but now I know better--and I am endlessly astounded by God's work. That's my take, though.

[starry-eyed-extraterrestrial]

Another one shot for my moot @robinsnest2111 , sorry this took me a while I'm writing exams rn and also this isn't my best work, so I promise to make it up to you and annal next time I write requests by making the requested fics actually...good lol, hope you enjoy this short piece anyway<3333

Mick is very familiar with facades.

He's known people who use them almost exclusively to the point that they lose all true identity and people who curse the mere thought of pretending to be something they're not or being anything but honest about who they really are. Mick falls into the latter category, he hates when people lie to save face and beat around the bush with their true intentions he'd rather just people be upfront about their true motivations so they can get from point a to point b.

There is one exception to this rule. One annoying blond exception that now lays next to him in his hotel bed, pressing his cold shivering form against Mick's side and hiding the face that he's usually so proud of in the crook of Mick's neck.

Another nightmare it would seem.

Vince Neil is a man who is no stranger to facade. He prances around all day like he's God's Magnum Opus and treats everyone who isn't hot and famous enough for him like second class citizens.

But at night, when there is no more audience to entertain and no more people to peacock around for in public and no more booze and girls to go around to satisfy his insatiable need for debauchery. Vince gets to thinking. And thinking leads to remembering. And remembering leads to thoughts of razzle.

And thoughts of razzle lead Vince to Mick's bed.

They haven't been doing this whole song and dance long, the accident was literally a few months ago so Vince is still freshly traumatised, not that Mick knows anything about that, he just assumes.

Mick wraps his arms around the singer gently and helps them settle into a more comfortable cuddle, one that allows them both to lay in positions that doesn't turn them into acrobats.

Vince's face still stays pressed in the junction of his neck and if Mick feels moisture there from what could only be tears, then he pretends not to notice and instead almost protectively puts his chin on top of Vince's golden locks and brings him in closer.

Mick isn't huge on cuddling but he wants Vince to know that he's there and that he's got him. He has to steer clear from as many words as possible. Him not speaking is the whole appeal to Vince.

Vince comes to him because if he goes to Nikki, Nikki would want to talk. Vince doesn't go to Tommy because Tommy will brush him off and assure him all was well. But Vince knows all isn't well, knows that a man, his friend, is dead today because of him and he doesn't need someone to tell him to talk about how he's feeling or someone to give him patronising comfort. All he needed was a warm body to touch and a judgement free zone to cry and Mick was the perfect candidate.

Mick hears rain start to fall on his window pane and Vince seems to shrink up further and deeper into Mick's side.

They don't ever speak when they're like this, Vince just clings to the subtle warmth of the guitarist and Mick holds the man, despite himself like the most precious gift in the world.

So yes Mick hates facades, thinks they make the world a far worse, more complicated place but he understands why Vince hides behind a mask.

If anybody were to touch the fragile ego and soul of the singer with even slightly to rough a palm they'd break him into a million pieces.

Mick loves Vince too much to ever want that pain of being vulnerable around the untrustworthy people of the world to be known to him.

So for once he puts up with the facades, and allows the soul of his vulnerable singer to stay protected next to him in bed huddled in his arms safe and sound.

He'd make the bad thoughts go away. He'd make them disappear forever if he could…or maybe he wouldn't, call it being selfish but Mick quite likes being needed by his singer for things like this, likes holding him close and running a hand through his hair.

Maybe they could reach an agreement somehow, Vince's nightmares of past horrors go away but he stays in bed next to Mick, still in desperate need of his affection.

Yeah, he thinks that's fair.

The rain pours outside now, making a nice cosy white noise atmosphere fall over them like a warm blanket. They fall asleep like that, listening to the rain and holding each other close.

[chaotic-nick]

✧･ﾟ: *✧･ﾟ:* BLEACH ACTOR/ MEDIA AU HEADCANONS || pt.1

note: Brought to you by a former media student [this is my way of a late graduation celebration on this app. And a gift to you guys because you saw my journey from going back to uni after a gap year and my internships] and now media/ comm practitioner 🥺

warnings: Scandals, unedited, mistakes [im doing this on my phone], toxicity

actor au - modern au

Actor Yamamoto! would be a veteran actor that pioneered a certain genre or a specific scene that was present in all the movies he stared in when he was younger. Filming Bleach was an unexpected role. Because in his 30-year-career of action/drama/slapstick/mystery movies, he thought that his wrinkled body at an old age wouldn't land him anymore roles.

- Definitely the type who's strict and would throw acting lines in between takes at younger costars

- All of the Captain-lieutenant actors was told that the 'main captain' would be a veteran actor. None of them expected that it would be him.

- Filming was delayed by a day because every actor that walked into the room was starstruck and suddenly forgot how to act

ACTOR Jushiro! Wanted to pursue theatre studies but financial constraints said no. Still wanting to pursue a career in media, he attended an open University and studied Broadcasting Arts instead.

In his first day as an intern, he was put to test and was tasked to write articles. At the end of his first month, he was put in front of the camera.

Jushiro who was happy he was in front of the camera as an Afternoon newscaster, was called to his Boss' office three weeks later.

In front of him was the series' casting director and director, both of them agreeing that his face looked more angelic in real life than the news.

News events didn't suit a face like that anyway, he was fit for a gentle captain.

Actor Jushiro! found his way back home to his initial dream.

His background in Broadcasting helped him give articulate answers at movie premieres and red carpet events.

Always seen with his hair tied low and in a black suit, nodding along to the interviewers question.

one time the interviewer was an old classmate of his, it was then the world saw a more hyper version of himself.

Very much involved with the framing process of scenes

Actor Shunsui! Who's either gone too quiet or has the tabloids running after him. For the most normal things, too. Everything he did was a big deal. After all he came from a well known Business family.

'Kyoraku son photographed wasted and escorted out of Kyoto bar'

'Sex, Scandals, and guitar strings: Exclusive cover of what Japan's hottest actor does on his nights off'

It's funny how he accumulated a magazine tower of bizarre articles and has gotten used to the lens following him around.

Actor Shunsui would start as a child actor, starring in commercials because of his mother. His father forbidding him to pursue acting and to focus on the family business was acceptable at first.

His father divorcing his mother and telling the board of directors that actresses are good entertainers but not wives, was not.

Shunsui genuinely loved acting. All the things he did on the side, it was to spite his father.

"How serious are you with your craft?" Asked Yamamoto when Shunsui showed up hungover at filming day. It was only through Yamamoto that Shunsui felt a father's care.

Actor Shunsui who can buy his privacy, bit chooses not to and does more things that'll spite his father more. Who even goes as far as saying "He can only see me on paper. He'll have to come to my mother and I if he's genuinely asking for forgiveness"

Actor Unohana comes to me as Michelle Yeoh of the Bleach actor Au-verse

Definitely the type/ cast member whose personality is close to the character she plays. Is composed.

Very much involved in the scriptwriting process of the series and is always seen next to the director with a script rolled up, talking amongst themselves as their eyes scan actor after actor.

Has the most confusing humour on set, would say the most childish things in the sternest tone.

Starred in other big name shows such as FMaB, JJK [pls JUST UNDERSTAND THE VISION]

Is always partnered with Ukitake on red carpets because of her answers.

Actor Byakuya! a nepotism child. He's a distant relative of Unohana but listen. A nepotism child but what's more surprising is that an actor who's a tenured professor in a College of Communications in prestigious universities. It surprises people so much that they forget he's a nepo-beb

- His tone scares alot of new students, but plenty of his former students would laugh about how he just agreed to anything and doesn't seem to give harsh feedback despite trying to.

- Would specialise in Communication Research and Communication theories.

one time he was asked to teach an introduction to film subject for a semester, and took his students to the filming of the bleach episodes.

immediately after the director yelled cut, Professor Byakuya mode entered, saying, "I expect a paper on what shots were used and the importance of it to the story. That is your midterm."

Starred in a number of films and shows. His voice alone made him a host for a number of awarding events.

Has a special place for bleach, would automatically say yes and sign a contract. But with other offers he would immediately tell that he's busy for the semester.

Being an actor-professor would be annoying. Rapid taps of his fingertips on his laptop would ruin so many silent scenes, always has his laptop hidden in the scene and pulls it out just as the director is about yell cut.

Wandered into the wrong studio once after a marathon of teaching classes and was confused why everyone wore uniforms and hung on the ceilings [JJK Reference]

Definitely started wearing Haoris out of habit after many, many seasons on bleach.

Actor Aizen! Who's roots started as an idol trainee but debuted as an actor in romance films. Always the second lead that never received loved. His crying scenes broke the hearts of many and garnered fans.

He wanted to be challenged and not remain the second lead, wowed the casting directors with his monologue.

Almost backed out of the season when he read the tweets that questioned if a romance actor was fit for a show like bleach.

Another actor that received Yamamoto's wisdom. "You can't control many things, your craft is something that you can." Was all he offered when he heard Aizen's sniffle in a cubicle.

Aizen who's seemingly composed on red carpets, but breaks down to kpop idol rely dances in variety shows and is unashamed to dance to any choreo.

TWICE STAN ACTOR AIZEN IMAGINE THIS PLEASE

Actor Aizen always seen in airports, a Birkin and cardigans. "Look at him and his role" "love the duality" "I stan" "this guy can play god, but can stan harder" are the variations of tweets in everytime a new candid photo of him is released.